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Topic: New York New York & After Hours on dvd... (Read 8915 times)

I like these two movies. A lot. I wish they were on dvd. Does anybody know if they're in the works to come to dvd?

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Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary: the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

Now we need to get Marty's musical to dvd. Who do I have to kill/sleep with?

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Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary: the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

Mac, I know you know some insiders. Give me phone numbers, and I will commence midnight call threatening. I won't tell them where I got it, don't worry...

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Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary: the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

i just watched New York, New York for the first (and last) time. it was bad. unfortunately they were doomed from the start because from the first half of the film Deniro seemed to be horribly horribly miscast. he was not charming, he only seemed scary and possesive from their first meeting. you didnt want them to end up together. if that part had been played by someone with some sort of 'charisma' the movie could've been actually funny and even enjoyable. if that part had been played by Woody Allen and the singer Diane Keaton THAT would have been a watchable film. deniro was an unlikable sunuvabitch and i doubt i could be the only one who didnt WANT them to end up together at the end of the film. the second half of the film was all over the place, started in some sort of typical domestic fighting type scorsese-ness and went off into 12 minute big musical numbers. although ill admit when deniro was absent for 20 minutes i actually started to enjoy myself while he was gone, because he was such an oppressive abusive sunuvabitch. it was interesting seeing what this could have been, but unfortunately it did not work.

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Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

I kinda thought that was the point -- that he was difficult, and that their relationship would never work...

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Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary: the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

yeah but it was miserable to watch. not entertaining or funny, or particularly realistic either. deniro was just being 'crazy deniro' and that was hard to stomach in a romantic musical. think about my woody allen diane keaton thing though. take out the fight scene before the baby and it could totally have worked.

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Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

After Hours is really hard to find on VHS. I finally found it at a video store and they were selling thousands of used movies for cheap. It was in that bunch. So, I'd be interested in when the DVD will be released and what will be on it.

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Typical US Mother: "Remember what the MPAA says; Horrific, Deplorable violence is okay, as long as people don't say any naughty words."

Webber is very keen for this to be the next film to go into production after The Phantom of the Opera is done and dusted.

Obviously the main role of Norma Desmond is the most hotly contested of all with Liza Minnelli, Barbra Streisand, Bette Midler, Susan Sarandon, Judi Dench and Shirley Maclaine all said to be under consideration, as is Glenn Close who played it on Broadway.

Webber has spoken to Streisand about it previously, as she has recorded songs from the show her albums, but he is said to be uneasy over how much control Streisand wants, perhaps even directing, but in the very least producing. Minnelli is a favourite because it is thought that some of her old television recordings she made with her mother years ago could fill in for the parts where the characters watch Norma's films she made as a teenager.

The trouble with casting the part of a washed up icon whose star power is fading is that the only suitable actresses are washed up icons whose star power is fading which isn't good news for musicals which have been traditional difficult to sell in recent years, especially without a star name above the title.

That's why so much emphasis is being put on finding a big star to play the male lead of Joe Gillis. Russell Crowe, Robert Downey, Jr and Ewan McGregor are all on the list but far and away the favourite is Hugh Jackman who played the role in Sydney. It is felt that as well has having the lungs to pull off the singing, he will be a big attraction to those who liked him as Wolverine.

For Betty Schaeffer, Jennifer Love Hewitt is thought to have the sickly sweet and naïve qualities required to play the part, but Martine McCutcheon and Britney Spears are waiting in the wings.

Five actors are all being considered for the role of butler Max: Patrick Stewart, Albert Finney, Kelsey Grammar, Jim Broadbent and Jonathan Pryce. All of them are also being thought of as possible Cecil B. DeMilles, with John C. Reilly wanted as Artie Green.

Perhaps most surprisingly of all with this production is the choice of director: Martin Scorsese. Apparently he is a big fan of Billy Wilder and his Sunset Boulevard in particular, and is keen to try his hand at another musical after "New York, New York", which may add credence to the chance of Liza Minnelli as Norma.

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Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

No, I know: FUCK MARTY!!! DO AN ORIGINAL SCRIPT ALREADY!!!! DO THE FUCKING GERSHWIN OR DINO MOVIE!!!!!!!!!!!!

aarrgghhhh

Logged

Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary: the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

The neglecting to do an original script doesn't bug me as much as the insistence Scorsese apparently has in remaking a classic that doesn't need to be touched. I can't imagine MacGuffin (or any Wilder fan for that matter) would be too thrilled with this. And Sunset Blvd. as a musical anyway? Wasn't Norma Desmond already loony enough?